You've said you weren't taken on beach holidays as a child. Has that led to your fascination with beaches?
"Oh, I think so, yes. It certainly comes into it. My parents were keen bird watchers, so the seaside I was taken to as a child was mainly marshes and suchlike, where we were looking for warblers and waders. There wasn't a slot machine or a fellow beachgoer in sight. Having missed out at a young age, I can't get enough as an adult. It's a theme that's been maintained for almost all the 50 years I've been working as a photographer. There's no let up. The great thing is that when the beaches are empty here [in the UK] in winter, you can go to Latin America or Australia and catch up with beach activity in the southern hemisphere."
Your project is called Beach Therapy. Do you find it therapeutic to take photos on beaches?
"I think photography, generally, is a therapeutic activity. I have this desire to explore the world, to express what I see as the good and the bad. I have a love-hate relationship with Britain, and the great thing about photography is that you can express that conundrum and ambiguity quite effectively, and have both sides of the arguments running along simultaneously. So that's really why I think of it as a therapeutic process. When I reflected on the role of the seaside throughout my career, and how I've used the beach as an experimental laboratory, Beach Therapy seemed the perfect title."